Shibuya culture PROJECT

Tokyo Metropolitan Museum of PhotographyIn, retrospective of the modern photographer Iwata Nakayama"Revived Iwata Nakayama light and shadow of modernism."が、間もなく会期終了を迎える。中山は、1918年に東京美術学校（現・東京藝術大学）臨時写真科を第一期生として卒業し、同年に渡米、1926年に渡仏。ニューヨークでは写真スタジオを開業し、パリでは藤田嗣治やマン・レイと交流を深めながら、欧米から最先端のモダニズム写真を吸収した人物だ。日本に帰国後は、1930年に「芦屋カメラクラブ」を結成し、同年「東京第一回国際広告写真展」で一等賞を受賞、1932年には木村伊兵衛らとともに写真雑誌『光画』を創刊。今回の展覧会は、モダニズム表現を吸収、展開、オリジナルへと昇華させていった中山岩太の作品110点を、学生時代〜ニューヨーク〜パリ〜「芦屋カメラクラブ」〜遺作まで年代順に展示したもので、戦前日本の近代写真の変遷も伺い知ることができる。

And "revived Iwata Nakayama modernism of light and shadow." Another points of interest, in addition to the original prints by Nakayama own hands, a new modern print production by the gelatin-silver, a point that has been exhibited. This is because, in addition to the fact that in recent years the glass dry plate of Zhongshan work was rediscovered, today the crisis of film photography has been advocated, of how we tell how posterity the photo original plate should be called historical heritage one of the answers of the Museum of Photography for the question.
This time, in the wake of this Zhongshan IwaFutoshiten, I want to once again explore the charm of analog photos in modern digital input, processing and output are becoming major.
Before the war of modern photography is, it spreads rapidly from Zhongshan of return, sharpened in the second half of the 1930s. Under the influence of Surrealism and abstract paintings, he began to develop as an avant-garde photographic expression that deepened the quest to the camera and film, such as the device itself. Was taken in 1941 "butterfly (one)" is, in the middle of the development of the film in a dark room, by excessively shed light, using a technique called "solarization" to reverse the white and black of the black-and-white photo crafted work.To the intersection of the positive image and the negative image, drifting surreal sense of reality and fantasy were mingled.
In addition, posthumous "celebration of the Demon" was produced in the previous year 1948, which fall in cerebral hemorrhage in the 53-year-old, female, seahorse, such as shells, side-by-side hollowed out the photos that are each taken separately, taken as a single print. It is a special technique called "photo montage".
当時「前衛」と呼ばれたこれらの特殊な写真技術は、今日では、フォトショップなどのデジタルソフトを用いて簡単に再現できるもの。しかし、撮影〜現像といった一連の作業で、過度に暗室を露光させたり、元の写真を切ったり貼ったりという、新たな表現を探ったこれらの作品とデジタル加工は、表現は同じでも全く意味が異なるもの。飾られた写真からびんびんと伝わってくる緊張感を再現することはできない。

In addition, "avant-garde photo" has been passed down to the present, the exhibition to arrange the work which has acquired its own taste, from February 3 (Tuesday)Galerie AndoIt has been held at the"Mineo Sakata Exhibition"である。坂田が用いるのは、「フォトグラム」という特殊技法。カメラを使わずに、印画紙の上に直接モチーフを置いて感光させることで、置いたモチーフの形が白く残る。その印画紙を、そのまま作品とするものだ。 坂田は、マン・レイや瑛九といった前衛作家の作品で有名なこの技法をもとにして、モチーフに花を用いる。薄い花びらは、強い光を当てることで光を通す。坂田の作品では、フォトグラムを用いて印画紙には花びらのシルエットが白い像として残される一方で、透過した光が花びらのディティールをグレーの濃淡で浮かび上がらせる。完成品は、暗闇に浮かび上った透明感溢れる白い花の写真のようにみえる。しかしそこに写る花の姿は、実際に用いられたモチーフとはまるで見た目の異なる存在。この、モチーフと画像との曖昧な関係が、花の持つ「表面的な美しさだけでない、内側の微妙なバランス」（坂田さん談）を伝え、坂田の写し出す作品には独特の存在感と美しさが漂う。
Photogram is because it does not have a negative, not be reproduced as a normal photograph. In can not replicate technique, the work that we are finished with the photosensitive manual, Sakata has been likened to ink painting.
From 1993, "hobby began with the feeling" (Sakata's story) that but photogram, "Mineo Sakata Exhibition" at Galerie Ando is, this is the second time following the 2006 was popular. "Look once, too beautiful, not forgotten in a strong impression, I came to see this time," but I thing that the raised voices that, in the modern digital replication is repeated easy, " the one-time "and" original "are required to work, not to think or not is rather inevitable is.

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